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>For the third consecutive National Day holiday, the audience spent time with the National Day trilogy movies.

>"My Father and I" continues the highlights of the first two films, with multi-directors and all-star cast, and still takes the little people as the entry point of the big era background, telling several stories with different themes, laughter and tears.

>The first My People，My Country was born at the historical node of the 70th anniversary of the founding of New China, which has special commemorative significance. After three years, will the audience feel aesthetic fatigue? How should the main creator break through innovation and dispel this fatigue?

>The four directors of My Father and I are all actors, especially Zhang Ziyi and Shen Teng. Can they shoulder the heavy responsibility this time? What kind of different feelings are expressed for "parents" compared with "motherland" and "hometown"?

>In 2019, My People，My Country was born at the right time. At that time, a group of directors who had the most box office appeal in China and guaranteed the quality of their works were delineated: Chen Kaige was the general director, and the rest were Guan Hu, Xue Xiaolu, Xú Zhēng, Ning Hao and Muye Wen.

>My People，My Country’s box office and word-of-mouth are very successful, and the appearance of the sequel My People My Homeland is logical. My People My Homeland began to be younger and more comic, with Zhang Yimou as the chief producer and Ning Hao, Xú Zhēng, Chen Sicheng, Yan Fei, Peng Damo and Deng Chao as directors.

>My Father and I are no longer led by top directors like Chen Kaige and Zhang Yimou. The selected directors are not only young, but also actors from across the border: Jason Wu, Zhang Ziyi, Xú Zhēng and Shen Teng. Although both Zhang Ziyi and Shen Teng are national movie stars, they have never been directors before. They don’t belong to any generation and have no fixed labels, which can bring freshness and surprise to the audience.

>It can be seen from the behind-the-scenes lineup that the National Day trilogy has become lighter and more confident after establishing brand recognition. It has opened its arms to accommodate more filmmakers to join this annual large-scale project and encouraged more creative forces to let go of their hands and feet to express themselves.

>The number of directors and units is also decreasing year by year, giving each story more space to expand. The length of each unit of Father’s Generation is more than half an hour, which is more in line with the law of film creation. There is no need to be like "Motherland" and "Hometown", and some units have to reduce the plot due to space constraints.

>The most successful point of this series is that there is no false praise at all, and the creative policy set since the first "Motherland" has been consistently continued — — We must take the little people as the leading role and tell the vivid little things that happened to them, so as to map the background behind them.

>What little people did the four "fathers" in Me and My Father choose?

>Jason Wu’s father in Riding the Wind is an ordinary anti-Japanese cavalry soldier; Zhang Ziyi’s mother in The Poetry is an unknown rocket fuel researcher. Xú Zhēng’s father in Duck Prophet is a failed section chief of medicinal liquor sales. Shen Teng’s substitute dad in A Boys’ Journey is simply an artificial intelligence product.

>Soldiers, astronauts, businessmen and robots are not great heroes in history, but military, aerospace, economy and science and technology are all indispensable pillar forces under the background of the rise of great powers in China.

>Compared with such grand and dignified words as "motherland" and "hometown", "father" is a concrete person, which gives people a feeling of being close and familiar with a lot.

>What’s more, these four "fathers" are not the traditional images of parents in China.

>In Riding the Wind, Leo never calls Jason Wu "Dad". In The Poem, the boy’s two fathers died one after another, and it was Zhang Ziyi’s mother who assumed the responsibilities of her parents. Xú Zhēng’s father in The Duck Prophet made his son so ashamed that he pretended not to know him and took a detour. Shen Teng plays a father who is not related by blood in A Boys’ Journey, and even more coincidentally, in the end, the father and son become each other’s "fathers".

>Therefore, what Fathers wants to talk about is, in the final analysis, the word "inheritance", which tells how China’s achievements in labor and wisdom have been passed down from generation to generation.

>Perhaps Sheela’s Hinayana wind will not have to fight any more when he grows up, but he can become a space researcher. After the successful development of two bombs and one satellite, some of their children may have gone into business. The first group of people who started their own businesses after the reform and opening up may step out of the future giants of scientific and technological innovation.

>Different times have different missions, which is the strategic point of Me and My Father.

>Going to the cinema to watch this series of movies on National Day has become a celebration ceremony and habit for more and more families. A movie ticket is the only one in the movie circle, which can see stars in half the entertainment circle and feel stories of different types, themes and styles.

>My People，My Country takes time as the sequence, My My Hometown takes space as the axis, and My Father and I take generations as the chapter, giving consideration to both, respectively telling the story of Jizhong cavalry regiment during the Anti-Japanese War, scientists in the desert during the period of two bombs and one satellite, Shanghai businessmen in the early days of reform and opening up, and Shenzhen families in 2021.

>What kind of answers did the four directors hand over this year?

>The first unit, Riding the Wind, has a typical Jason Wu-style tough guy’s blood, which is comparable to the anti-Japanese version of Wolf Warriors. However, after consulting the historical data of Jizhong Cavalry Corps, we know that the war scene presented in the film is not a "drama", but that the enemy’s strength is so disparity and the war is so tragic. Those pictures of guns and guns with blood and broken limbs and limbs are a painful page in the history of the Republic that cannot be avoided and should not be forgotten, and the fearless spirit shown by teenagers riding the wind has planted the fire of victory for the future.

>Riding the Wind by Me and My Father, Jason Wu, Leo.

>Riding on the Wind not only has the shock of war drama, but also has the deep affection of literary drama.

>At the beginning, a rocker arm raised the lens, which photographed the vastness and beauty of the field scenery, as well as the magnificent appearance of the young men in the field incarnating the cavalry regiment at the time of departure. The scene of father and son having a heart-to-heart conversation at night, in the way of man-to-man conversation, puts the feelings of mutual concern between father and son and their common aspirations — — Killing the enemy, serving the country, and dying in the battlefield are deeply expressed. When the old horse returned to the team alone, and Sheela named the newborn "riding the wind", Jason Wu’s delicate performance was moving.

>Riding the Wind by Me and My Father, Jason Wu, Leo.

>The second unit is Zhang Ziyi’s Poems. I haven’t recovered from the shocking scene of Riding the Wind, but I was surprised by Zhang Ziyi’s first shot.

>It was a long shot with extremely complicated scheduling, which shuttled among a large group of children playing wantonly, briefly explaining the elements of the story: the small town on the border of the desert, the children’s perspective, and at the same time throwing out the question: where did the parents of these children go? Then, a strange loud noise frightened the children and aroused the audience’s appetite.

>Later, we learned that the couple played by Zhang Ziyi and Huang Xuan were the rocket fuel engineers of the first artificial satellite in New China. Compared with their contribution to scientific research, The Poem shows more about how parents and children get along with each other, revealing the flesh-and-blood side of these great craftsmen. Punish the leg in front of the child, the rare shredded pork in the dish, explain the image of Kongming Lantern when the rocket is fired to the child, and the simple poem &hellip at the end of the film; … All give this unit a delicate warmth from a female perspective.

Poetry of Me and My Father, Zhang Ziyi and Huang Xuan.

>The director, chief producer, screenwriter and other important positions of this unit are all women, and the astronaut who finally went into space on behalf of China is also a woman. I have to say that it is necessary and precious in a work like Father. The director’s answer sheet handed over by Zhang Ziyi for the first time has also been well received by the audience.

> Zhang Ziyi’s directorial debut came a little late, but it happened at the right time. If she hadn’t been the mother of several children and accumulated a lot of feelings about life, I’m afraid she couldn’t shoot such a story about her mother. Just directing the performances of dozens of children is already one of the biggest challenges in the directorial profession.

Me and my parents, Zhang Ziyi.

>The first two units earned enough tears from the audience. From the third unit "Duck Prophet" directed by Xú Zhēng, the story began to turn to a cheerful comedy tone.

>"Duck Prophet" is a metaphor that makes people clap their hands. It refers to those who are quick-witted, can smell the change of the times keenly, dare to try, and finally occupy the forefront of the times and succeed. For example, the first to buy stocks, the first to start a company, the first to buy a house in Pudong, the first to use a mobile phone, and so on.

>After Xú Zhēng was assigned to the period of reform and opening-up, he didn’t shoot those big entrepreneurs and big shots who had long been household names. Instead, he chose a pioneer who was not to be seen as an advertiser. With a large number of translation shots, retro decoration and comedy scenes with great sense of form, the image of "Duck Prophet", a snobbish, respectable and vivid little guy, was deeply rooted in people’s hearts.

> My Father and I, Duck Prophet, Xú Zhēng, Song Jia and Han Haolin.

>Zhang Yimou’s guest appearance was a stroke of genius, not only because Zhang Dao’s lines and performances were brilliant, but because of the appearance of such an image of a cadre who dared to take responsibility and carry back the pot, the macro policy of vigorously encouraging the development of the private economy and letting a hundred flowers blossom in the market was implemented.

>The Duck Prophet of Me and My Father, with a guest appearance in Zhang Yimou.

>The final advertisement mixed with the material of the development of New China is also very memorable, which opens up the pattern and vision of the whole short film, and it is not the "Duck Prophet" that expresses the power, but everyone in China and this era that has given everyone countless opportunities. Xú Zhēng is really a brilliant Shanghainese.

>In addition, Xú Zhēng is the only director who has participated in the National Day trilogy for three consecutive years, and his films are basically stories about his hometown Shanghai and its surrounding areas. The Duck Prophet and Leap’s scenes and roles have certain continuity. Xú Zhēng made this series into a series that changes every year, expecting more follow-up stories in the future.

>Shen Teng’s A Boys’ Journey, like the unit starring him and Mary in Hometown last year, is the comedy and the finale of the whole film.

>This is a sci-fi comedy, and it is the first comedy in which Shen Teng keeps a straight face all the time.

>Because Shen Teng plays a highly bionic robot, this robot is very advanced on the one hand and has a very fragile achilles heel on the other — — There will be no electricity, afraid of water. Therefore, the sudden intrusion of this robot is not threatening. Even a child can subdue it with a water gun. In order to retrieve the energy ball, the robot can only agree to the condition of "playing the father on the parents’ day" proposed by the little boy.

>"My Father and I" and "My Youth Travel", Shen Teng.

>If an ordinary actor plays a robot, he must play how he plays, while Shen Teng uses accurate and funny body language and lines of "serious nonsense" to make the audience believe the role while laughing. For example, he explained that the belly is to absorb shock and protect the core parts. Parents’ Day uses super powers to satisfy the little boy’s self-esteem, which makes the audience feel good about watching superhero movies.

>Many old acquaintances of Mahua FunAge can be seen in this unit. The actors of Twist have honed excellent comedy proper limit in front of countless stages and cameras, and every burden can be heard. "This power is not mysterious", "You are professional when you look at it, look at the chassis first when you look at the car", and every sentence in the lines is a joke.

>"My Father and I" and "A Young Man’s Journey", Shen Teng and Mary.

>Just like ET and Changjiang No.7, the childlike stories of children and aliens never seem out of date and will always bring people moving. Finally, in 2050, a small reversal was designed, meaning that teenagers are the future of the country, and a happy ending was written for the story of "Father", which tells the intergenerational inheritance.

>The four units, from sadness to joy, are harmonious with each other and memorable.

>Just like ordering a dish of delicious food, eating four dishes at a time, Xian Yi, young and old, is full of fun.

>At present, it is not known whether there will be a new sequel to this series. With the excellent box office and word-of-mouth blessing, it will not be surprising to continue to sit firmly in the National Day file. This IP has become the symbol and representative work of the concept of "New Mainstream Movies in China". Just like the Spring Festival Evening is to the Spring Festival, it is expected to become a fixed program of the National Day holiday, bringing laughter and emotion to the largest audience.

>Jason Wu, Zhang Ziyi, Xú Zhēng and Shen Teng directed Me and My Father.

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The exterior design of the Lexus RX shows the perfect combination of elegance and dynamism. The front face features the iconic spindle-shaped air intake grille of the Lexus family, and with sharp LED headlights, it creates a highly recognizable visual impact. The body lines are smooth, the overall style is both luxurious and powerful, and the delicate waist line and tail design complement each other to create a steady and stylish sporty temperament. From any angle, the Lexus RX shows the extraordinary style of a luxury SUV.

The Lexus RX, with its well-designed body profile, shows elegant and powerful side lines. The size of this luxury SUV is particularly striking, with a length of 4890mm, a width of 1920mm, a height of 1695mm, and a wheelbase of 2850mm, giving the interior a spacious layout. The tire size is 235/60 R19, and the front and rear wheels are of the same specification, which not only guarantees driving stability, but also complements the body design. The choice of wheel rim style further enhances the visual appeal of the vehicle.

The interior design of the Lexus RX is full of luxury and technology. The exquisite leather steering wheel not only provides a comfortable grip, but also is equipped with electric up and down + front and rear adjustment functions, which makes it easy for drivers to adjust the best angle according to their needs. The 9.8-inch central control screen is not only an infotainment center, but also has an automatic speech recognition control system. It supports multimedia, navigation, phone and air conditioning functions, which is convenient and intelligent to operate.

The seat part is made of imitation leather, and the seat cushion and backrest are designed with exquisite design. The main and passenger seats provide front and rear, backrest, high and low adjustment, as well as 4-way or 2-way adjustment of waist support, to ensure the comfort of long-distance driving. The front seats have four additional USB/Type-C ports, which is convenient for passengers to connect to devices, while the rear seats also support backrest adjustment and are equipped with proportional reclining function, which enhances the flexibility of the space. Overall, the interior design of the Lexus RX strikes a good balance between practicality and luxury.

The Lexus RX is equipped with a 2.5L displacement L4 engine with a maximum power of 139 kilowatts and a maximum torque of 241 Nm. This engine provides a robust power output to the vehicle and is paired with an E-CVT continuously variable transmission for an efficient and smooth driving experience.

Overall, the Autohome owner expressed his high admiration for the exterior and interior of the Lexus RX. He particularly mentioned the smooth design of the exterior lines and the charm of the front face, and the white body shows its elegance. At the same time, the pure black design of the interior adds a sense of luxury and impresses. For drivers who pursue quality and beauty, the Lexus RX is undoubtedly a trustworthy choice.

　　International online car channel news: Looking back on the past hundred years, the key words that have always been implemented are not afraid of difficulties and risks, and hard work. As one of the pillars of the national economy, the automobile industry has experienced unremitting struggle from scratch to strength.

　　Chinese employees pose with German experts in front of a white Santana that has just rolled off the assembly line on April 11, 1983, in a workshop at the Shanghai Automobile Factory. Everyone’s faces are brimming with excitement. Without flowers and wine, this simple rolling-off ceremony marked the beginning of a new era for Chinese cars.

On April 11, 1983, the first Santana rolled off the assembly line

　　If Columbus’s voyage opened up the New World, then SAIC Volkswagen, the first batch of automobile companies to enter the Chinese automobile joint venture catalog, connected the world of automobiles. Since its establishment in the 1980s, SAIC Volkswagen has grown and developed together with China’s opening up process, led pioneering innovation, and continued to promote the transformation of the domestic automobile industry.

SAIC Volkswagen

　　Joint venture, a pioneer in the development of the automotive industry

　　In the 1970s, China’s car industry was still in a state of small scale and low degree of mechanization. As China gradually opened up to the world and embraced the desire to develop an automobile power, China and other countries began to negotiate the establishment of joint ventures for cars. In 1978, the prelude to the automobile joint venture was officially opened. In October of the same year, a Chinese machinery delegation visited Europe and began to discuss the joint venture construction of car enterprises with Schmidt, then chairperson of Volkswagen Group, which opened the prelude to Sino-German cooperation.

　　As the first person to eat crabs, it is natural to accept more challenges. To this end, the state has absorbed the opinions of Chinese and German negotiators. The negotiation of this joint venture project of SAIC Volkswagen has provided valuable examples and experience for the follow-up joint venture work not only in automobiles, but also in other industries in our country, and has become a pioneer of pioneering and innovation. After six years of long negotiations, Volkswagen Group and SAIC Group signed a joint venture contract in the Great Hall of the People in Beijing in October 1984, and SAIC Volkswagen was officially established. As a bridge between China and Germany and the vanguard of the domestic automobile industry, SAIC Volkswagen introduced advanced manufacturing technology and a sound quality management system into China, and a new pattern of using foreign capital, introducing technology and accelerating development in China’s automobile industry began.

On October 12, 1984, the groundbreaking ceremony of Shanghai Volkswagen Automobile Co., Ltd

　　"Whirlwind" Santana, a model of car localization

　　After China and Germany started to cooperate, they first needed to determine which product to introduce. At that time, the German side recommended the "Audi 80" or "Santana" models. After research by the Chinese side, the new model Santana with the latest materials, technology and craftsmanship at that time was favored. Santana was the latest product of German Volkswagen at that time. It had a simple and generous appearance, spacious space, outstanding safety and economy, and was suitable for use as domestic official vehicles and commercial vehicles.

Santana Pipeline

　　Quality Standards for localization caused controversy at the time. According to the contract, localized Santana parts had to be sent to Germany for technical certification by Volkswagen. Due to the fact that the production conditions and technical level of the domestic automobile manufacturing industry were still in their infancy at that time, production defects were inevitable, which was not allowed in the eyes of strict German experts.

　　In 1988, the quality standard for the localization of Santana was officially concluded: "The localization of Santana cannot be’melons and vegetables’, and the localized parts must adhere to the German Volkswagen standard, 100% qualified, and 0.1% reduction is not required." The phrase "no melons and vegetables" has been widely praised, and SAIC Volkswagen has also adhered to high standards.

　　Adhere to quality first and form an auto parts industry chain

　　In order to overcome the problem of "improving the localization rate of Santana", SAIC Volkswagen, with the help of governments at all levels, started a series of key innovation work again. At that time, the situation of Chinese auto parts enterprises was a lack of technology and money. To improve the localization rate, it was necessary to carry out technological transformation of auto parts enterprises. Large transformation costs were the main obstacle to improving the localization rate at that time.

　　In 1988, the "localization fund" was officially established, which fundamentally solved the problem of funding for the introduction of technology and equipment by parts and components enterprises. Also in 1988, 105 parts and components supporting enterprises, 6 universities, and 7 scientific research institutes jointly established the "Santana Community". The localization of Santana is no longer a matter of one enterprise, but a problem of the entire city, and even China’s automobile industry. With policy support and financial support, a large number of parts and components enterprises began to reinvent themselves and grow. Even later, as long as the quality standard has been approved by SAIC Volkswagen, other manufacturers will directly purchase it and become "inspection-free products".

　　Within the company, SAIC Volkswagen hired more than 20 retired engineers from Germany’s Volkswagen to train and guide the production of parts, strictly in accordance with the German "six gates", namely the entry gate, the first sample pass, the tooling sample pass, the quality assurance system evaluation pass, the batch supply pass and the official supply pass, to achieve 100% qualified localization of parts. At the same time, if the domestic local parts factory wants to become a supplier of SAIC Volkswagen, it must be re-transformed according to German standards, and the parts can only pass the inspection after being tested by German standards. In this process, SAIC Volkswagen worked with Germany to gradually establish a complete industrial chain including Product Research & Development, parts supply system, modern vehicle production system, and fully functional sales and after-sales services system. This modern automotive industry system was first put into practice in China through SAIC Volkswagen. In terms of parts system, the Chinese and German partners mobilized more than 300 parts manufacturers of the Volkswagen Group around the world to encourage and support these manufacturers to transfer technology to China, establish joint ventures, and realize local production. Ultimately, the Sino-German partners jointly established more than 400 high-quality parts enterprises, which became the core of China’s auto parts system and laid the foundation for the development of the domestic auto industry.

January 28, 1992 Celebration of the cumulative production of 100,000 Santana sedans

　　Through the joint efforts of all members, in the early 1990s, the localization rate of Santana finally reached 90%, and the annual output exceeded 3,500 vehicles. Overcoming language barriers and technical gaps, the integration of localization technology and German standards has introduced a manufacturing process that is synchronized with the world for the domestic automobile industry, and also brought quality cars that are in line with international standards to domestic consumers.

　　The development of SAIC Volkswagen is like the epitome of China’s opening up, and every pioneering and innovation has become a driving force. Looking forward in 2021, every person and story involved has become a symbol, recording the original bravery and creativity of Chinese cars and Chinese builders. (Image source: SAIC Volkswagen)